By Fraser MacDonald, Rachel Hughes, Klaus Dodds
Geopolitics is altering. The behavior of battle and peace is being remodeled by way of our expanding dependence on visible pictures and practices. satellite tv for pc surveillance, computing device video games, streaming video, retinal scanning and cell phone cameras are only many of the applied sciences which are shaping modern geopolitics. From the horrors of 9-11 and Abu Ghraib to the mechanical, mundane functioning of airport biometrics, geopolitical truths are tested via a means of visible demonstration. visible tradition has develop into a part of the equipment of persuasion. Observant States brings jointly major foreign authors to discover the constructing dating among geopolitics and visible tradition. the result's a definitive contribution to a globally major, newly emergent box of enquiry.
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Extra resources for Observant States: Geopolitics and Visual Culture (International Library of Human Geography, Volume 16)
Sontag 2003: 154) 02_Observant_041-064 27/1/10 15:51 Page 43 Torture and the Ethics of Photography 43 Sontag argued that photographs have the capacity to move us momentarily, but that they do not have the power to build an interpretation. If a photograph becomes eﬀective in informing or moving us politically, it is only because the photograph is received within a context of a relevant political consciousness. For Sontag, photographs render truths in a dissociated moment; they ‘ﬂash up’ in a Benjaminian sense.
However, there was some cause for worry with this new overture. My own concern was ﬁrst triggered at the opening of the innocuous-sounding ‘Institute for Creative Technologies’ (ICT), which I covered for Wired magazine in 1999. The ICT was set up at the University of Southern California (USC) to spearhead a remarkable project: with US$43 million provided by the US Army, it would combine the virtual reality tools of Silicon Valley and the talent of Hollywood ﬁlm studios to produce state-of-the-art military simulations for future war.
2 It reﬂects as well an increasingly global view that Hollywood, Silicon Valley and Washington, DC have joined forces in the war on terror. For those who might detect a whiﬀ of conspiracy in such claims, a short history of events after 9/11 might be instructive. By early October 2001, White House advisers had already begun a series of meetings with directors, producers and executives from the entertainment industry on how Hollywood might best help the war eﬀort. To be sure, an alliance between the military and the entertainment industry was not entirely new.
Observant States: Geopolitics and Visual Culture (International Library of Human Geography, Volume 16) by Fraser MacDonald, Rachel Hughes, Klaus Dodds